Wednesday, April 06, 2016

Composer and multi-instrumentalist Henry Threadgill had much
in common with the late cornetist and founder of “conduction” Butch Morris.
They had played in David Murray’s legendary octet, served in Vietnam but most
importantly shared a wide open view of music that wasn’t constrained by
tradition. When Morris passed away in 2013, Threadgill thought to acknowledge
their lifelong kinship in a way his friend would surely applaud. He he down his
own instruments and instead directed a septet of his own through a four section
suite dedicated to Morris. The band consists of Jason Moran and David Virelles
on pianos, Curtis MacDonald and Roman Filiu on alto saxophones, Jose Davila on
tuba, Christopher Hoffman on cello, and Craig Weinrib on drums. The music is a
continuous suite, but it is indexed into four parts, so “Part One” has spare
pianos pushing and pulling the music as the drums enter and the horns add an
ominous tone to the music. The cello enters and the music begins to gain speed
with exciting keyboard and drum clashes. I love the way Davila’s tuba sounds in
the mix of this music. He could be considered the bass, but he is really so
much more. There is tight alto saxophone weaving through the ensemble, one with
a lighter tone, and one a touch darker to add further texture to this deep and
lustrous music. Pianos flutter with tuba, cello and percussion as the saxes
return to create a wild fantasia of musical color and splendor, as things
mellow to a skittish drum and tuba section that heralds “Part Two.” This
section is much shorter and remains wide open even after the spare pianos and
saxophones quietly enter. Everything hangs in space and time and then there is
a section for unaccompanied drumming that is very impressive and links to “Part
Three” where cool and confident cello and piano join the drums. When the
saxophones enter the fray everything gets even better, with taut horns and deep
propulsive drumming driving the music ever faster, making for a mighty
improvisation that is a joy to hear. Things back off a bit with strummed and
plucked cello and cryptic drumming bringing things down a bit and percussive
piano playing adding a beautifully enigmatic sensibility to the overall music. Then
apropos of nothing there is a complete stop… before soft airy saxophone,
rattling drums and fast building cello climb into the concluding “Part Four”
which seems to be the most overt to goodbye to Mr. Morris with the pianos
playing in a manner that is lonely and elegiac. The ripples and filigrees roll
from side to side as the music deepens and darkens with hard striking
saxophones rising in raw glory reminiscent of “Psalm” by John Coltrane, before
everyone comes together as one to conclude the suite with a rousing and
powerful bow to Butch Morris and all of his accomplishments. This was a
fantastic album, unreservedly excellent. Threadgill is the consummate risk taker,
but he is never reckless. He wrote the music, chose the musicians and trusted
them to interpret it in the manner in which he desired and the results were
exemplary. This is jazz at the highest level and should not be missed on any
account.